h 

MARCIA  MEADOWS 


Colonial  Draperij  Fabrics 


COLOR  AND  design- 

dominant  NOTES  OF  THE  MODERN  HOME 

The  Personality  of  Homes 

HOME  is  most  artistic  and  in  finest  taste  when  it  expresses  the 
personality  of  its  owner;  when  it  extends  the  warmth  of  the 
hostess’  welcome  to  guests  and  friends  —  when  it  is  friendly 
and  hospitable,  and  shows  this  in  every  aspect.  This  is  what  we  hope 
to  help  you  achieve  —  a  home  of  friendly  welcome  to  your  friends  —  a 
colorful,  peaceful,  artistic  retreat  for  your  family.  Our  endeavor  is  to 
give  you  here  the  principles  of  harmonious  color,  balance  and  deco¬ 
rative  effect  which  can  be  applied  to  the  average  home. 

Today  informality  is  the  keynote  —  of  dress,  of 
fellowship,  of  entertaining,  and  of  interior  decoration. 

Lavish  use  of  color,  too,  is  another  motif  typical  of  today. 

Design  and  artistic  taste  collectively  and  individually  have 
progressed  far. 

As  you  read  over  the  principles  of  interior  decoration 
outlined  in  this  book,  select  rooms  to  which  you  can  apply 
these  rules,  and  visualize  each  step,  bearing  in  mind  several 
important  points: 

1.  The  particular  “type,”  if  any,  of  your  home. 

Is  it  a  period  style,  Colonial,  Early  English,  Spanish — or  is  it  a  comfortable  every¬ 
day  American  home?  There  are  styles  and  colors  of  both  furniture  and  draperies 
which  adapt  themselves  beautifully  and  quite  ideally  to  each  of  these  types. 

2.  The  size  of  the  room  —  and  the  light  that  enters  it. 

Is  the  room  large  or  small?  Dark  or  light?  There  is  individual  treatment  for  the 
small  dark  room  and  the  small  light  room;  for  the  large  dark  room  and  the  large 

Consider  12'xl7'  as  an  average  size  living  room;  Il3^'xl5'  as  an 
average  size  dining  room;  10'xl4'  as  an  average  size  bedroom. 

3.  The  proportion  of  the  room. 

Proportion  applies  to  both  color  and  form,  and  includes  floor, 
walls,  ceiling,  furniture  and  draperies. 

4.  Purpose  of  the  room. 

Dining  —  Sleeping  —  Reading  —  Living. 


Copyright  1928 
Marshall  Field  &  Company 
Wholesale 
Departments  of 
Colonial  Drapery  Fabrics 


light  room. 


£2} 


5. 


6. 


The  exposure  of  the  room. 

Do  the  windows  face  to  the  north  or  south,  east  or  west?  This 
should  be  the  important  factor  in  choosing  the  color  scheme  for 
a  room,  rather  than  one’s  personal  liking  for  a  color. 

Some  materials  and  colors  absorb  light  while  others 
reflect  it. 


We  must  let  this  fact  govern  our  choice  of  fabric  for  draperies  and  curtains. 
Remember,  too,  that  colors  have  a  tremendous  emotional  value,  as  is  pointed 
out  on  page  28. 


7.  And  lastly,  the  type  of  windows  in  the  room. 

Are  they  high  and  narrow;  deep  and  wide;  are  they  hinged  casements  or  the  regu¬ 
lation  check-rail  type;  single  or  in  groups? 


Many  women  do  not  realize  that  the  windows  of  a  room  are  per¬ 
haps  the  most  important  single  feature  of  it.  Windows  can  mar 
its  cheer  and  comfort  so  easily  —  or  they  can  give  it  the  most 
entrancing,  most  friendly  aspect!  Everyone  readily  understands 
that  the  glory  of  a  home  or  of  a  room  often  lies  in  the  beautiful 
natural  light  —  and  the  lights  and  shades  created  thereby  —  when 
it  is  admitted  through  windows  artfully  curtained. 

Decorators  place  emphasis  on  the  importance  of 
properly  curtaining  and  draping  windows,  so  as  to  set  off  to 
best  advantage  the  room  and  its  contents.  Because  windows 
play  such  an  important  part  in  the  beauty  of  a  room, 
they  should  be  dressed  as  fittingly,  as  charmingly  and  as  artistically  as 
possible. 


This  book  has  been  written  especially  to  help  women  with  average 
homes  —  not  for  those  who  have  palatial  mansions  and  unlimited  space 
and  means.  We  hope  to  show  how  easily  new  and  perfectly  charming 
effects  can  be  secured  by  simply  rearranging  the  furniture,  changing 
the  draperies,  and  taking  advantage  of  the  plain  walls  or  unobtrusive 
wall  papers  which  form  such  attractive  backgrounds  for  colorful  acces¬ 
sories. 


It  is  not  possible  for  all  of  us  to  buy  a  new  rug  or  new  furniture 
whenever  we  want  it  —  even  though  what  we  have  may  not  be  as 
colorful  or  inviting  as  we  could  wish.  But  we  can  “remake” 


our  rooms  with  comparatively  small  expenditure  when  we 
learn  the  joy  and  “knack”  of  redressing  the  windows  and 
furniture.  With  a  knowledge  of  the  underlying  principles 
of  the  art  of  home  decoration,  reinforced  by  your  own 
good  taste,  your  dreams  of  a  beautiful  home  can  be  real¬ 
ized — a  home  that  is  a  friendly,  hospitable  retreat . 

a  reflection  of  your  own  personality. 


1:3} 


(1^  /lyyyuxM. 

-IMMAjoLc-totJ,  ia^tUA^  'YUKcL  cuaJ  xv-uf.  ^  Jot'' 
^  "ujAJ  yUi^' - .  -*-f  -  i>-  — ,i><../_ 

VkL^ 


Problem  of  a  Small  Living  Room 

(^^^T^ARTICULARLY  in  the  case  of  a  small  apartment,  glass  curtains 
/  should  be  made  of  the  same  fabric.  This  applies  to  the  over-draperies 

as  well.  We  observe  this  rule  even  when  the  room  is  large,  provided 
it  is  all  one  room;  in  other  words,  it  is  only  when  rooms  are  separated  by 
French  doors  or  in  some  other  manner,  that  windows  are  curtained  and 
draped  with  different  fabrics. 

Small  rooms  can  be  charmingly  decorated,  as  you  will  see  by  the 
photograph  of  the  gay  little  living  room  on  the  opposite  page.  Because 
this  room  faced  to  the  west  and  so  received  sunlight  for  a  large  part  of  the 
day,  we  selected  a  cool  grayish  beige  for  the  wall  paper;  the  woodwork  is 
in  ivory.  The  cool  blue  and  green  tones  of  the  black-ground  rug  are 
harmoniously  carried  out  in  the  painted  green  rush-seat  chair  and  the 
silvery  green  vase.  The  glass  curtains  are  sheer  and  soft,  fashioned  of 
Colonial  Venetia  Gauze,  and  over  them  are  hung  the  delightful  draperies 
which  give  such  a  joyous  atmosphere  to  the  room.  For  these  a  beautiful 
exotic  floral  pattern  of  Chinese  Chippendale  influence  was  selected.  It  is 
Colonial  Town  and  Country  Cretonne,  quite  apparently  hand-printed, 
simulating  wonderfully  well  the  interesting  hand-blocked  linens  of  olden 
times.  The  little  love  seat  is  upholstered  in  the  same  material,  and  so 
provides  a  desirable  note  of  unity.  Colors  of  the  accessories  — •  lamps  of 
brown,  ivory,  blue  .  .  .  books  with  various  hued  backs — are  in  complete 
accord;  and  there  is  a  final  note  of  good  taste  in  the  mahogany  furni¬ 
ture  which  so  nicely  contrasts  and  accents  the  greens  and  blues  which 
are  the  dominant  colors  in  the  room. 

There  is  an  adequate,  yet  not  at  all  excessive  or  too  elaborate 
quantity  of  furniture — tea  wagon,  Windsor  chair,  Chippendale  desk  chair, 
lovely  Governor  Winthrop  desk,  and  walnut  gate-leg  table. 

Now  let’s  go  back  and  pick  up  threads  of  this  description,  so  to 
speak,  and  see  wherein  this  living  room,  though  limited  in  size,  car¬ 
ries  out  the  principles  of  good  decoration  and  harmonious  color  combi¬ 
nations. 

Being  a  west  room,  it  required  cool  shades;  witness  the  green  and 
blue  tones.  To  avoid  monotony,  spots  of  complementary  color  (the 
complements  of  each  color  and  an  explanation  of  them  are  given  on  page 
28)  were  used  in  the  reddish  brown  lamp  shade,  and  the  rose  and  ecru 
in  draperies  and  love  seat.  The  floor  or  foundation  is  darkest,  the 
walls  lighter,  ceiling  lightest,  as  they  always  should  be  to  avoid  a  “top- 
heavy”  or  unbalanced  effect.  The  pictures  and  small  accessories  are 
well  placed,  not  confusing  in  arrangement;  neither  do  they  cause  a 
crowded  appearance. 

In  short,  can  you  conceive  a  small  living  room  decorated  in  a  more 
livable,  artistic  manner? 


£4} 


A  most  delightful  air  of  pert  independence  characterizes 
this  little  living  room.  The  window  and  sofa  grouping  is 
wholly  in  keeping  with  its  informality. 


Matters  to  Consider  in  Planning  the  Decoration 

S  you  consider  the  decoration  of  a  room,  step  back  from  it  and 
study  its  proportions.  Are  the  ceilings  high  or  comparatively 
low?  Is  the  room  narrow  and  long,  or  almost  square?  If  the  ceilings 
are  low,  an  appearance  of  height  can  be  effected  by  the  use  of  a  perpen¬ 
dicularly  striped  wall  paper;  if  too  high,  remedy  this  by  using  an  all- 
over  pattern  or  a  design  which  seems  to  have  a  horizontal  feeling.  If 
the  room  is  oblong,  decorating  is  simpler:  arrange  the  furniture  around 
the  center  of  interest  — •  keeping  the  larger  pieces  always  in  line  with  the 
boundary  or  structural  lines  of  the  walls.  A  fireplace  is  a  logical  and 
delightful  center  of  interest;  but  if  the  room  has  none,  then  create  such 
a  center.  It  may  be  a  grand  piano,  a  reading  table  with  choice  books 
and  lamps,  a  group  of  windows.  If  the  room  is  square,  it  is  more  diffi¬ 
cult  to  maintain  an  artistic  balance.  Lacking  a  fireplace,  you  can  create 
a  center  of  interest  along  one  wall;  then  along  the  opposite  wall  have 
two  smaller  groups  of  furniture,  of  less  interest,  or  perhaps  only  one  group 
to  provide  balance  and  equilibrium. 

After  considering  the  proportions  of  the  room,  turn  for  a  moment 
to  the  walls.  They  form  the  background  and  their  large  areas  should  not 
be  dominant  in  color  or  design;  otherwise  the  important  features  of  the 
room  will  be  minimized.  Think  of  all  the  wall  spaces  as  settings  for  the 
windows  and  doors  which,  when  attractively  and  correctly  treated  with 
Colonial  Drapery  Fabrics,  become  beautiful  pictures.  Can  you  now  see 
how  much  more  restful  and  appropriate  neutral -toned  walls  are  than 
those  with  prominent  patterns? 

The  next  important  matter  is  the  room’s  exposure.  With  win¬ 
dows  facing  north  or  east  it  receives  little  sunlight.  So  the  ingenious 
decorator  uses  a  scheme  which  dominates  in  warm  colors,  by  this  means 
introducing  a  cozy,  bright  and  cheerful  atmosphere  despite  the  lack  of 
brilliant  light.  Rooms  which  have  a  southern  or  western  exposure,  and 
are  consequently  flooded  with  natural  light,  need  a  color  that  contrasts 
this  brilliance.  To  afford  restfulness  choose  cool  colors.  “Warm”  and 
“cool”  colors  are  terms  having  definite  meaning  in  the  minds  of  decorators. 

The  foregoing  are  not  the  only  points  we  must  consider  in  deciding 
on  the  color  keynote  for  a  room.  Its  purpose  —  for  dining,  sleeping  and 
resting,  or  general  living  —  is  equally  important.  In  the  dining  room, 
where  the  family  spends  at  most  a  few  hours  each  day,  we  can  introduce 
a  greater  amount  of  vivid  colors  and  striking  designs.  In  a  living  room 

or  a  bedroom  greater  thought  should  be  exercised 
to  obtain  the  proper  effect,  in  the  one  case,  of 
easy  relaxation;  in  the  other,  of  restfulness. 

The  size  of  the  room  and  the  amount  of 
light  it  receives  enter  largely  into  the  decorative 
scheme.  The  appropriateness  of  design  in 
fabrics  selected  should  correspond  to  the  char¬ 
acter  of  the  room.  Large  or  bold  designs  may 
be  appropriate  for  a  large  room,  but  are  out  of 


Incorrect  Arrangement 


[6} 


keeping  in  a  small  one.  In  the  smaller  room  designs  should  be  con¬ 
fined  to  the  smaller  patterns  in  draperies,  rugs  and  upholstery. 

When  fabrics  of  different  designs  are  selected  for  the  same  room, 
discretion  should  be  exercised  in  choosing  patterns  and  colors.  An  excel¬ 
lent  example  of  two  happily  combined  fabrics  entirely  different  in  design, 
occurs  in  the  Early  American  bedroom  on  page  21.  Notice  the  side  chair 
with  slip-cover  seat  of  Colonial  Charlton  Chintz,  which  provides  a  gracious 
variation  from  the  Toile  de  Jouy  draperies  and  bedspread. 

If  the  room  is  dark,  whether  large  or  small,  introduce  as  much 
light  as  possible;  resort  to  the  color  of  the  sun:  use  yellow  in  its  various 
values.  If  the  room  receives  an  abundance  of  natural  light,  temper  it  by 
offering  contrast  and  relief  through  neutralized  colors. 

Absorption  or  reflection  of  light  should  play  a  most  important 
role  in  the  selection  of  fabrics  for  draperies  and  upholstery.  This  is 
affected  materially  by  the  texture  as  well  as  by  the  color.  Naturally  light 
colors  reflect  light;  dark  colors  absorb  light.  While  smooth  textured 
fabrics,  like  cretonnes,  chintzes  and  most  damasks,  reflect  light,  the  pile 
fabrics,  especially  velvets  and  mohairs,  absorb  a  great  deal  of  light. 

Therefore,  if  the  room  is  small,  refrain  from  using  colors  and 
fabrics  which  absorb  light,  and  which  therefore  make  the  room  seem 
darker  and  smaller.  A  maroon  velvet  would  be  a  splendid  choice  for  a 
large  room,  since  it  absorbs  light,  thereby  making  the  room  appear 
smaller  ■ —  pulling  it  together,  as  it  were.  A  chintz  with  cream  ground 
and  dainty  sprigs  of  flowers,  would  serve  ideally  in  a  small  room,  because 
both  the  fabric  and  the  color  reflect  light,  and  create  an  appearance  of 
larger  size. 

One  very  important  detail  in  planning  a  color  scheme  is  to  build 
from  floor  to  ceiling.  Floor  and  rug  should  be  of  the  darkest  color  value, 
either  plain  or  figured,  to  give  a  foundation  to  the  room.  The  wall  should 
be  lighter,  the  ceilings  lightest.  As  to  whether  ivory  or  mahogany,  or 
a  colored  enamel  is  used  for  the  woodwork,  depends  upon  the  color  scheme 
to  be  followed. 

In  arranging  furniture,  large,  heavy  pieces  should  be  placed  parallel 
to  the  structural  lines  of  the  walls,  though  for  a  variation  a  small  chair 
or  table  may  be  placed  at  an  angle  (see  diagram  of  incorrect  setting  at 
left,  the  correct  at  right).  The  old-fashioned  method  of  arranging  the 
furniture  diagonally  to  the  walls  is  considered  bad  form,  as  it  gives  a 
distracting  appearance  to  the  room.  You  know  how  disorderly  a  room 
looks  with  davenport,  long  table,  desk,  piano,  and  rugs  at  “sixes  and 
sevens.”  Interest  is  added  where  the  furniture 
is  grouped  about  the  most  important  feature 
of  the  room  such  as  a  fireplace  or  a  large 
reading  table. 

When  you  have  fixed  in  your  mind  these 
underlying  principles  of  artistic  effect  in  home 
decoration,  they  will  not  appear  in  the  least 
confusing  —  for  they  are  as  sound  as  the  rules 
by  which  you  work  out  a  mathematical  problem. 


Correct  Arrangement 


Treating  a  Spanish-tgpe  Living  Room 
In  Its  True  Character 


N  GENERAL,  the  styles  of  homes  most  in  favor  today  are  the  Early 
English,  the  Spanish  and  the  Colonial  types.  Each  of  these  has  its 
distinct  features,  and  each  must  be  differently  treated  and  decorated 
in  order  to  attain  a  harmonious  and  consistent  effect.  In  these  pages,  we 
shall  concern  ourselves  only  with  the  outstanding  characteristics  of  the 
interiors. 


Being  somewhat  more  foreign  to  us  than  the  other  two  types,  the 
Spanish -type  home  is  a  bit  more  sophisticated,  but  it  has  colorful  and 
delightful  possibilities  of  interior  decoration  which  are  adaptable  to 
modern  American  needs.  The  Spanish  style  is  distinguished  by  the  lavish 
use  of  rich,  deep  reds,  old  blues,  golden  yellows  and  moss  greens;  walls 
usually  of  rough-finished  plaster  in  cream  or  beige;  high-backed,  formal 
chairs  of  great  dignity ;  tall  windows  heavily  draped  and  curtained ;  stately 
wrought  iron  accessories;  massive  chests. 

If  you  are  planning  a  room  or  a  home  in  this  Latin  style,  the  vista 
of  the  Spanish-type  living  room  with  sun  room  beyond  will  be  interesting. 
The  brilliant  red  and  gold  of  the  Colonial  Winfield  Damask  draperies  in 
an  antique  weave  are  extremely  effective  and  the  rug  in  sympathetic 
tans  and  red-browns  is  in  true  harmony.  Typical  wrought  iron  and  copper 
accessories  were  used  to  carry  out  consistently  the  theme  of  the  room. 

Because  the  home  as  a  whole  should  be  unified  in  appearance,  and 
particularly  rooms  in  close  proximity,  the  sun  room  carries  the  dominant 
color  notes  of  the  living  room.  In  the  late  nineteenth  century,  when  real 
atrocities  of  interior  decoration  were  accepted,  it  was  the  general  practice 
to  decorate  each  room,  both  in  color  and  style,  without  any  thought  of  its 
neighbor.  Today  good  decoration  sponsors  more  harmony  — ■  fewer  dis¬ 
tracting  influences.  We  work  for  a  unified  whole  in  our  homes,  without 
bringing  into  the  scheme  so  much  similarity  of  color  or  line  that  uninter¬ 
esting  monotony  is  the  result.  This  sun  room  illustrates  very  well  this 
principle  of  decoration.  Here  we  used  a  Colonial  Town  and  Country 
Cretonne — in  gay  colors  on  a  linen-colored  ground.  Design  Ravello  — 
which  contrasts  nicely  with  the  red  tones  of  the  living  room,  definitely  re¬ 
lating  the  sun  room  to  the  major  theme.  The  green  of  the  design  offers  a 
complement,  whereas  the  black  repeats  the  color  of  the  iron  fern  stand. 
The  green  of  the  ivy  gives  a  further  complementary  color  note  and  af¬ 
fords  a  charming  touch  of  animation.  Then  there  are  the  lovely  reds 
and  blues  of  the  chair  seats,  and  the  parchment  color  of  the  lamp¬ 
shade,  which  is  toned  deeper  than  the  walls. 

Now,  reviewing  all  this,  we  find  that  the  living  room  is  dis¬ 
tinctly  a  colorful,  dignified  Spanish  style,  while  the  sun  room  beyond  is 
an  entity  too,  although  it  follows  the  keynote  set  by  the  main  room. 


There  is  a  charming  and  informal  vista  of  the  sun  room 
through  the  arched  doorway  of  this  stately  Spanish  living 
room — each  room  is  a  distinct  entity. 


A  Matter  of  Portieres, 

Window  Seats,  and  Things 

ERE  is  one  problem  that  puzzles  many  a  skilled  home-maker 
living  in  an  apartment  or  house  of  average  size.  The  answer  is 
definite.  No,  indeed  —  do  not  use  the  same  pattern  of  fabric  in 
both  rooms;  treat  each  as  a  separate  unit,  but  decorate  each  unit  so  that 
it  contributes  harmoniously  to  the  whole.  If  you  are  using  a  brilliantly- 
hued  cretonne  of  striking  design  for  the  dining  room,  then 
you  may  select  another  cretonne  or  a  chintz  perhaps,  of 
entirely  unlike  design  for  the  living  room — or  a  damask. 

The  dominant  color  of  the  dining  room  draperies  would 
then  be  repeated  in  some  part  of  the  design  of  the  living 
room  draperies.  As  for  the  glass  curtains  to  cover  the 
French  doors,  they  are  not  troublesome  to  make,  and  on 
another  page,  you  will  find  directions  for  them. 

One  question  invariably  raises  another — this  prob¬ 
lem  immediately  brings  to  mind  the  use  of  portieres 
— when,  and  how,  and  why? 

Sometimes  we  use  portieres  in  lieu  of  a  door,  some¬ 
times  to  give  the  effect  of  a  door  when  none  is  there,  and 
sometimes  simply  for  effective  decoration.  The  question 
of  what  sort  of  material  to  use  for  them  depends  on  the  room.  If  you 
have  several  windows  in  the  room,  hung  with  over-draperies  of  figured 
cretonne,  then  it  may  be  advisable  to  use  a  plain-colored  fabric  for  your 
portieres,  to  prevent  a  monotonous  effect. 

As  for  window  seats,  they  are  things  of  joy!  To 
ensconce  one’s  self  in  the  depths  of  one  of  these  nooks, 
particularly  if  it  is  decoratively  and  colorfully  adorned 
is  supreme  comfort. 

If  you  already  have  a  cozy  window  seat  in  one  of 
your  rooms,  count  yourself  among  the  fortunate.  And 
if  you  have  not,  this  can  very  easily  be  remedied. 

Notice  on  next  page  an  illustration  of  a  shallow 
bay,  into  which  a  seat  with  book  shelves  below  has  been 
built.  The  draperies  of  Town  and  Country  Printed  Linen, 


[10} 


Design  Ribbonrose,  are  in  extremely  good  taste.  The 
single  shaped  valance  gives  continuity  of  line  to  the 
bay  and  makes  it  definitely  a  part  of  the  room. 

In  the  illustration  below,  a  window  nook  was 
added  in  the  home  of  a  client  when  the  house  was 
remodeled.  Architecturally  the  room  was  much 
improved  by  the  addition  of  this  seat,  which  was 
placed  in  front  of  a  group  of  two  ordinary,  every-day 
windows.  At  the  same  time  a  long,  low  radiator  in  front  of  this  group 
was  made  a  thing  of  beauty  and  utility  instead  of  an  unsightly  necessity. 

The  installation  of  the  window  nook  was  a  simple  matter:  a  car¬ 
penter  covered  the  length  of  the  radiator  with  a  board,  lined  with  metal 
to  prevent  danger  during  the  winter  months.  At  either  end  of  this  board, 
narrow  open-shelved  bookcases  were  built,  providing  the  end  enclosures 
which  the  seat  needed.  The  windows  were  draped  with  the  beautiful 
curtains  of  Colonial  Town  and  Country  Newton  Cretonne,  in  a  modern¬ 
ized  design  named  Bloomsquare.  This  made  the  delightful  little  window 
nook  you  see  at  the  bottom  of  the  page.  Attractive,  isn’t  it? 

The  bookcases  and  end  seat  were  lacquered  in  walnut  color  to 
harmonize  with  the  furniture  and  woodwork  of  the  room.  We  fashioned 
a  soft,  deep  seat-pad  to  fit  exactly  the  size  of  the  seat,  and  covered  it  in 
a  pert,  water-proof  Colonial  Glazed  Chintz.  This  was  a  particularly  good 
choice,  as  it  could  easily  be  sponged  if  the  children  curled  up  luxuriously 
in  the  nook  with  no  thought  of  damp  and  muddy  feet.  Pillows  heaped 
around  made  the  seat  more  inviting  still,  and  the  finished  effect  was  re¬ 
markably  cozy,  cheery  and  restful.  So  many  homes  could  be  made  more 
attractive  with  an  idea  of  this  kind. 


The  modern  knife-pleated  lamp  shades  of  parchment  with  chintz 
backing  are  interesting  and  so  very  simple  to  make — one  might  hesitate 
about  paying  the  high  prices  asked  for  these  in  the  smart  decorating 
shops.  Secure  plain  parchment  paper,  back  it 
with  a  transparent  Colonial  chintz  suitable  in 
color  and  design  for  your  room.  This  chintz  is 
fixed  to  the  parchment  with  clear  white  shellac. 

Pleat  or  have  steam-pleated  in  about  1-inch 
pleats,  cut  the  lower  edge  into  points,  mount 
on  enameled  wire  frame,  tie  with  black  silk 
cord  and  tassels,  and  presto! — you  have  a  new 
lamp  shade,  ultra-moderne,  with  all  the  “air” 
of  the  Rue  Rivoli. 


[11} 


COLOMlftL  ftRCHED 

Color  and  Good  Taste 

Are  Expressed  in  This  Living  Room 

eOLORFUL,  comfortable,  livable  —  that’s  the  sort  of  living  room 
most  of  us  want  in  our  homes.  And  when  it  is  artistic  and  in  good 
taste,  cheerful  enough  to  bring  out  the  joy  of  living,  restful  enough 
to  give  us  the  repose  we  need  after  strenuous  days  of  activity,  then  it 
may  well  be  viewed  with  pride,  as  a  pleasant  task  well  done.  The  present- 
day  desire  for  color  explains  in  great  part  why  the  use  of  cretonnes  is  so 
much  advocated:  they  fit  so  charmingly  and  easily  into  our  modern 
life  —  they  offer  such  relief  from  the  dull  drab  complexes  of  a  few  years 
ago.  The  warmth  and  brilliance  of  color  in  these  cretonnes  enliven  our 
homes  during  wintry  months  .  .  .  their  radiant  flowers  and  foliage  and 
birds  bring  the  glorious  outdoor  world  into  our  rooms  in  all  seasons. 

The  gracious,  unpretentious  type  of  living  room  on  the  opposite 
page  is  the  sort  the  majority  of  us  would  like  to  have.  Quiet,  restful  walls 
in  ivory  with  panels  of  grayed  ivory;  a  reproduction  of  a  rare  oriental 
rug  in  multi-colors,  blending  with  the  cretonne  hangings.  The  striking 
Colonial  Town  and  Country  Cretonne  draperies.  Design  Wygelia,  won¬ 
derfully  simulating  the  fine  old-world  hand-blocked  cottons,  set  the  color 
keynote  of  the  room  with  their  dominant  rose-reds,  greens  and  blues  on 
black  ground.  Do  you  see  how  the  green  of  them  is  unobtrusively  picked 
up  in  the  sofa  of  soft  green  damask?  And  how  the  large  Queen  Anne 
wing  chair  is  slip-covered  in  cretonne,  in  which  green  predominates?  The 
rose-red  in  the  draperies  is  accented  by  the  small  upholstered  armchair  of 
rose  color  Colonial  Pompadour  satin-striped  moire,  and  by  the  red  parch¬ 
ment  shade  of  the  wrought  iron  lamp  - —  all  warm  tones  which  counteract 
the  north  light  which  the  room  receives. 

Notice  too,  how  the  furniture,  though  not  at  all  “matched,”  is 
in  harmony,  each  piece  with  the  other.  This  is  a  principle  of  decoration 
which  might  well  be  followed  generally.  Complete  sets  are  monotonous 
and  not  in  good  taste ;  but  it  is  equally  important  that  the  various  pieces 
used  should  all  be  of  the  same  type,  though  the  periods  from  which  they 
have  been  chosen  may  be  vastly  different.  For  example,  the  light  graceful 
types,  such  as  Sheraton,  Duncan  Phyfe  and  Queen  Anne,  all  combine  well, 
while  it  would  give  an  extremely  bad  effect  to  use  with  them  a  ponderous 
Jacobean  or  Elizabethan  piece.  These  latter  would  combine  well  with  the 
massive  dignity  of  an  Italian  Renaissance  piece  of  furniture. 

In  the  room  which  is  pictured,  the  walnut  drum-top  table  of  Duncan 
Phyfe  style  is  most  harmonious  with  the  Georgian  coffee  table  set  with  a 
real  Wedgwood  service.  The  Sheraton  side  chair  is  a  lovely  companion 
for  the  Queen  Anne  wing  chair. 

With  these  simple  suggestions  in  mind,  you  will  find  it  easy  to 
achieve  a  harmonious,  yet  individual,  charming  home  composed  of  in¬ 
teresting  rooms. 


Ciz} 


This  gay  and  amusing  little  room  owes  much  of  its  vivacious 
air  to  the  draperies  with  their  ornamental  edging. 


About  Curtains,  Poles  and  Valances 

ROM  the  many  queries  by  women  interested  in 
decorating  their  homes  artistically,  we  find  the 
majority  refer  to  window  treatment  of  one  sort  or 
another.  The  color  of  the  draperies  .  .  .  the  proper  length  of  them  .  .  . 
the  kinds  of  glass  curtains  that  are  best  .  .  .  when  valances  should  be 
used  and  when  not  .  .  .  the  style  of  poles  in  favor  now  .  .  .  and  so  on. 
Strangely  enough,  the  selection  of  rugs  and  furniture  does  not  offer  the 
vexatious  problem  to  most  women  which  the  treatment  of  the  windows 
does.  To  help  overcome  this  difficulty,  we  have  treated  windows  and 
their  adornment  more  specifically,  illustrating  in  this  book  many  types 
and  styles  of  both  windows  and  draperies.  Now  we  come  to  several  more 
window  accessories,  such  as  poles,  valances  and  curtains. 

Poles  are  popular  and  useful  adjuncts  to  good 
draping,  and  often  can  be  selected  to  carry  out  nicely  the 
style  of  the  room.  Poles  of  wrought  iron  or  wood  are 
made  in  many  distinctive  styles  with  attractive  finishes 
and  ornamental  touches.  Either  is  in  good  decorative  taste  and  equally 
modish ;  however,  each  of  them  fits  better  with  certain  interiors  than  the 
other.  Wrought  iron  poles  belong  distinctly  to  Spanish,  Italian  and 
Early  English  decoration.  Wooden  poles  are  a  part  of  the  Colonial  and 
Early  American  fittings,  and  are  used  largely  for  less  formal  decorative 
effects.  The  French  and  Georgian  types  of  windows,  however,  relinquish 
poles  in  favor  of  the  cornice  board,  such  as  is  shown  in  the  living  room  on 
page  13,  for  example.  These  cornice  boards  are  made  in  stock  patterns, 
readily  obtainable  from  drapery  merchants.  They  should  be  long  enough 
to  fit  flush  with  the  casing  and  about  4  to  6  inches  deep.  If  necessary, 
for  high  windows  this  depth  may  be  increased  by  the  use  of  a  buckram 
lambrequin  attached  to  the  lower  edge.  You  will  see  from  the  sketch 
at  top  of  next  page,  which  shows  a  lambrequin  with  cornice  board  dia¬ 
grammed  underneath,  an  alternative  treatment.  A  lambrequin  fashioned 
of  cretonne  fastened  with  tacks  directly  to  a  soft  pine  board  the 

width  of  the  window  gives  an  effect  only  slightly  less  formal  than  the 
exposed  wood  cornice  and  lambrequin  arrangement. 

Valances  enable  us  to  do  a  number  of  interesting 
things  with  windows.  If  they  appear  too  high  for  your 
liking,  valances  will  help  remarkably  to  give  them  a 
shorter  appearance.  If  they  seem  too  narrow  valances 


CHI 


will  apparently  add  width.  If  the  room  is  dark,  and 
the  windows  of  only  average  size,  it  may  be  preferable 
to  omit  the  valances,  as  these  may  tend  to  exclude  some 
light.  But  they  lend  a  most  softening,  gracious  touch  to 
windows,  and  so  we  use  them  wherever  possible. 
Valances  may  be  either  pleated  or  shirred,  but  there  are  so  many 
styles  which  are  appropriate  and  effective,  that  we  are  sketching  several 
to  suit  varied  tastes.  Valances,  of  course,  are  made  of  the  same  material 
as  the  over-draperies.  French  pleated  or  shirred  valances  may  be  hung 
from  a  rod. 

Lambrequins  are  reserved  for  more  formal  treatment  of  windows, 
and  require  extreme  care  in  cutting,  because  they  are  always  flat  and 
irregularities  are  easily  discernible.  Buckram,  cotton  flannel  interlining, 
and  a  sateen  lining  are  necessary  for  the  lambrequin,  and  it  is  advisable 
to  cut  the  pattern  on  these  lining  materials  first.  Some  attractive  patterns 
for  lambrequins  are  sketched. 

Glass  curtains  should  be  used  for  all  windows,  with  the  possible 
exception  of  casement  windows  which  have  small  square  or  rectangular 
panes  of  glass.  These  can  be  left  uncurtained,  using  side-draperies  only. 
Glass  curtains  soften  the  light  that  enters,  you  know,  and  their  colors 
should  be  selected  to  harmonize  with  the  tones  of  the  wall,  or  the  dominant 
color  of  the  draperies.  They  are  loveliest  when  very  simply  made  of  sheer 
transparent  material,  unless  the  plan  is  to  use  no  side-draperies  at  all, 
in  which  event  the  casement  or  glass  curtains  can  be  more  elaborate. 
Marquisette,  voile,  casement  fabrics  of  silk,  rayon  and  cotton,  mohair 
and  cotton,  or  all  cotton,  grenadine,  net,  and  gauze  of  rayon  or  silk 
are  considered  most  attractive  for  these  curtains.  Your  choice  of  fabric 
should  depend  on  the  texture  of  material  you  have  selected  for  the  dra¬ 
peries  and  other  furnishings  of  the  room.  For  example,  silk  or  gauze  are 
more  appropriate  for  an  elaborately  decorated  room,  while  with  cre¬ 
tonnes,  chintzes,  and  linens.  Opalescent  Gauze  voile,  net  or  grenadine 
is  more  suitable.  As  to  the  proper  length  for  them,  and  simple  direc¬ 
tions  for  the  making,  turn  to  page  30. 

Draw-curtains  as  shown  here  are  best  when 
made  of  casement  cloth,  as  when  drawn  at  night,  they 
allow  artificial  light  within  the  room  to  be  seen  from 
outside,  without  permitting  passers-by  to  gaze  into 
the  room.  When  draw  curtains  are  used  window 
shades  are  generally  dispensed  with. 


[15} 

|i 

I 

I 


The  Rugged  Charm  of  the  Earlg  English  Room 

a  previous  page,  you  remember  we  mentioned  the  Early  English 
/  type  of  home  as  being  one  of  the  styles  much  favored  today.  It 

endears  itself  to  us  because  of  its  quiet  dignity  and  the  substantial, 
rugged  qualities  of  an  earlier  day.  The  English  had  need  of  strength  and 
fortitude  in  their  lives;  they  reflected  it  in  their  homes. 

The  characteristic  interiors  of  Early  English  homes  as  they  have 
been  adapted  to  our  modern  needs,  show  walls  of  soft-toned  wood  paneling 
in  place  of  plaster  or  paper —  frequently  beautifully  finished  oak  —  with 
heavy  beamed  ceilings.  The  furniture  is  massive  for  the  most  part,  with 
an  inclination  to  heaviness  and  intricate  carving  —  witness  the  Eliza¬ 
bethan,  Jacobean,  and  William  and  Mary  types.  The  later  English  furni¬ 
ture,  which  we  call  as  a  group,  Georgian,  falls  into  four  styles,  with  the 
Queen  Anne  in  a  transition  period  between  the  two  groups.  The  later 
styles  have  lighter,  more  graceful  lines  —  Chippendale,  Hepplewhite, 
Adam,  and  Sheraton. 

The  popular  and  elegant  Duncan  Phyfe  type  of  furniture,  so  much 
in  favor  today,  does  not  belong  to  either  of  these  groups.  Duncan  Phyfe 
was  one  of  our  own  foremost  American  cabinetmakers  and  developed  a 
graceful,  chaste  style  of  furniture.  This  type  is  erroneously  classed,  by 
some,  as  Early  English. 

The  hangings  of  the  Early  English  period  were  usually  linens  of 
natural  color,  heavily  embroidered  in  bright  and  vari-colored  wools, 
which  came  to  be  known  as  crewel  embroideries.  The  types  of  fabric  that 
are  used  to  beautiful  advantage  in  our  modern  adaptations  of  Early  English 
rooms,  are  the  lovely  and  colorful  Colonial  Town  and  Country  Cre¬ 
tonnes,  which  simulate  the  Jacobean  and  Elizabethan  patterns  of  these 
old  crewel  embroideries. 

These  Colonial  Town  and  Country  Cretonnes  are  printed  by 
cylindrical  wooden  blocks,  and  their  delightful  irregularities  are  so  nearly 
like  the  old-time  linens  printed  by  hand  with  wooden  blocks  that  a 
fabric  expert  really  cannot  detect  the  difference.  Many  of  these  rich  and 
colorful  designs  develop  really  enchanting  effects  in  Early  English  rooms. 

A  dining  room  of  dignity  and  richness  in  this  Early  English  style 
is  shown  on  the  opposite  page.  Isn’t  it  simply  brimming  over  with  hearti¬ 
ness  and  hospitality?  It  is  a  north  room;  the  color  scheme  to  which  the 
room  has  been  keyed  is  found  in  the  drapery  fabric,  a  very  happy 
choice.  The  deep  browns  of  the  oak  paneling,  the  carved  oak  furniture, 
a  rug  in  which  red  predominates,  the  warm  brown  leather  of  the  armchair 
and  the  red  slip  seats  of  damask  in  the  straight  chairs,  all  are  matched  to 
colors  in  the  window  drapery.  These  draperies  offer  both  analogous 
and  complementary  colors  with  their  splotches  of  rose,  red,  green,  gold 
and  black  on  a  linen  colored  ground.  They  are  a  Colonial  Town  and 
Country  Cretonne,  in  a  modernized  Jacobean  design,  and  help  to  form 
a  balanced  whole,  a  satisfying  Early  English  dining  room. 


[16} 


Draperies  of  modernized  Jacobean  design  enhance  the  aspect 
of  hearty  good  will  and  colorful  richness  of  furnishing 
which  characterize  this  dining  room. 


French  Doors — 

How  To  Curtain  Them  Attractively 


9 


HE  style  and  location  of  the  French  doors  in 
your  home  govern  the  manner  in  which  you 
can  treat  them  most  effectively.  If  they  are 
between  the  living  and  dining  rooms,  or  in  a  bed¬ 
room,  they  can  be  curtained  simply  and  informally; 
if  they  lead  out  to  garden  or  terrace  or  porch,  they 
should  be  accorded  more  dignity  in  their  deco¬ 
ration.  “Bris  Bis”  curtains,  as  they  are  generally  known  to  decorators, 
leave  uncurtained  the  upper  panes,  or  upper  quarter  of  the  glass,  and 
contribute  a  charmingly  informal  note  to  French  doors  when  they  occur 
between  hallway  and  living  room,  or  within  the  interior  of  the  house. 
For  other  French  doors  the  curtains  are  in  better  taste  when  hung  from 
the  top  of  the  doors,  covering  the  glass  completely. 


Any  material  such  as  you  use  for  window  glass  curtains  may  be 
used  for  curtaining  French  doors  —  casement  cloth,  gauze,  marquisette 
or  net.  For  appearance  and  durable  washing  qualities  we  recommend 
Colonial  Opalescent  Gauze  as  being  most  satisfactory.  The  material  is 
simply  and  easily  mounted  on  the  doors  with  a  French  heading,  and  hangs 
free.  When  so  used,  finish  the  curtains  at  the  bottom  with  a  fairly  deep 
fringe,  setting  it  high  enough  on  the  hem  of  the  curtain  so  that  the 
lower  edge  of  the  fringe  is  even  with  the  lower  edge  of  the  curtain. 
This  gives  the  necessary  weight  to  prevent  the  curtains  from  flapping  when 
the  doors  are  opened.  Or  the  material  may  be  shirred  on  rods  at  the  top 
and  bottom  of  the  glass ;  this  is  equally  correct  and  attractive. 

At  main  entrance  doors,  it  is  particularly  appropriate  to  use  side 
draperies;  or  they  may  be  used  elsewhere  for  French  doors  if  you  feel  an 
added  note  of  decoration  is  needed.  The  same  fabric  you  have  used  for  the 
window  draperies  fashions  the  side  draperies  for  the 
doors.  These  should  be  trimmed  in  the  same  manner  as 
the  over-draperies.  They  may  be  hung  on  a  wooden  pole 
with  rings,  painted  to  harmonize  with  the  dominant 
color  of  the  draperies,  or  in  a  dull  gold  finish.  Draperies 
mounted  on  swinging  rods,  also  provide  an  effective 
means  of  over-draping  French  doors.  In  truth,  if  the 
home  presented  no  greater  problem  of  decoration  than 
that  of  treating  these  attractive  and  popular  French 
doors,  the  matter  would  indeed  be  simplified,  for  they 
are  really  not  difficult  to  handle. 


H  Bedroom  Conducive  to  Rest 


would  be !  .  .  .  But  golden 
golden  oak. 


HY,  oh  why,  will  well-meaning 
relatives  bequeath  their  fur¬ 
niture  of  the  early  nineties  to 
helpless,  newly-married  folks?  If  it 
were  only  Colonial  mahogany,  Chip¬ 
pendale  or  Louis  XV  how  delightful  it 
oak!!!  You  need  not  despair  even  at 


Decoration  is  in  good  taste  when  there  are  no  confusing  lines,  no 
distracting  influences,  no  inharmonious  color  arrangements;  no  over¬ 
powering  effects  of  design,  no  stifling  heaviness  on  one  hand  and  incon¬ 
gruous,  airy  delicacy  on  the  other.  Most  furniture  of  a  generation  or  two 
ago  had  a  very  depressing  effect;  the  rooms  were  usually  arranged  in  a 
stuffy  and  uncomfortable  manner.  The  furniture  itself  was  poor  in  design. 

Our  advice  is  to  cover  golden  oak  atrocities  with  slip-covers  of 
one  of  the  many  inimitable  Town  and  Country  Cretonnes  or  a  cheery 
Colonial  Charlton  Chintz. 


Slip-covers  are  really  the  saving  grace  of  many  an  ugly  piece  of 
furniture.  By  their  use  quite  dissimilar  pieces  of  furniture  may  be  brought 
harmoniously  into  the  decorative  scheme.  They  contribute  a  note  of  airy 
freshness  and  cleanliness  to  the  room,  and  if  they  are  made  of  cretonne  or 
chintz,  the  colors  can  be  charmingly  keyed  to  the  dominant  color  scheme. 


These  cretonnes  and  chintzes  are  decidedly  appropriate  for  bed¬ 
rooms,  and  you  will  find  that  an  effect  equally  as  delightful  as  illustrated 
on  page  21  may  easily  be  attained.  Specific  directions  for  making  slip¬ 
covers  are  given  on  pages  22  and  23. 

Indeed,  you  will  have  discovered  that  I  strongly  favor  cretonnes 
and  chintzes,  and  this  is  for  several  reasons  which  I  think  you  will  agree 
are  sound.  In  the  first  place,  the  colorings  are  truly  inspiring  with  soft 
blendings  of  rose  on  gray,  splashes  of  orange  against  intense  black,  or 
brilliant  greens  that  may  complement  a  deep  red  vase. 

Whatever  the  color  scheme,  you  can  always  find  a  cretonne  or  a 
chintz  to  carry  it  out  to  perfection.  More  than  that,  the 
designs  produced  in  these  fabrics  are  of  the  finest;  world 
masterpieces  of  painting  and  architecture  and  carving 
furnish  inspiration;  the  whole  world  of  nature  is  depicted. 

Museums  and  galleries  and  palaces  and  treasure  chests, 
old  and  new,  at  home  and  abroad,  have  yielded  their  best 
to  the  styling  of  Colonial  Town  and  Country  Cretonnes. 


£19} 


Tranquillity  and  Rest  in  a  Bedroom 
of  the  Early  American  Type 

7 HE  Early  American  or  Colonial  type  of  house  is  very  dear  to  our 
American  hearts  because  of  its  close  association  with  our  early 
days.  Both  the  stately  southern  Colonial  with  its  low  veranda  and 
tall  classic  pillars,  and  the  Salem  Colonial,  characterized  always  by 
simplicity,  sincerity  and  restraint,  are  much  in  vogue. 

Roomy,  comfortable,  old-fashioned  four-posters  of  mahogany; 
shining  white  woodwork,  frequently  with  mahogany  doors;  chintzes  or 
toiles  at  the  windows  and  often  on  the  upholstery;  patchwork  quilts; 
wing  or  barrel  type  chairs ;  skirted  dressing  tables  —  all  these  belong  to  the 
Colonial  period,  and  develop  charmingly  bright,  quaint  and  comfortable 
rooms  today. 

This  cheery,  delightful  Early  American  bedroom  illustrated,  with 
northern  exposure,  carries  out  the  motif  of  its  period  quite  ideally.  The 
walls  are  papered  in  a  grayed  ivory  tone,  while  the  wainscoting,  which  is 
also  a  distinguishing  mark  of  the  Colonial  bedroom,  and  the  woodwork, 
are  painted  in  ivory  white.  An  all-over  carpet  of  taupe  covers  the  floor, 
deeply  accenting  the  wall  tone,  while  here  and  there  are  Colonial  braided 
scatter  rugs.  Graceful  simplicity  of  true  Colonial  character  marks  the 
lines  of  the  mahogany  furniture.  A  joyous  rosy  touch  is  contributed  by 
the  airy  Colonial  Toile  de  Jouy  draperies,  which  show  a  scenic  pattern 
closely  following  the  true  manner  of  the  artist  J.  B.  Huet,  of  a  century 
and  a  half  ago.  These  are  patterned  in  rose  on  an  ivory  ground.  The  same 
fabric  has  been  used  for  the  bedspread  and  upholstered  chair,  while  for  a 
harmonious  change  the  side  chair  has  a  box-pleated,  slip-covered  seat  of 
Colonial  Chari tpn  Chintz,  Design  Rosebud.  These  Toiles  de  Jouy,  by  the 
way,  are  adapted  from  the  quaint  old  fabrics  that  originated  in  the  little 
French  town  of  Jouy  so  many  years  ago.  They  were  a  distinct  part  of 
window  decoration  in  our  Colonial  days;  recently  they  have  come  back 
into  popularity,  and  fit  gracefully  into  the  Early  American  rooms  now 
so  much  favored. 

Have  you  noticed  that  the  dominant  color  used  in  this  room  is  a 
warm  one — rose;  essential  because  of  the  east  light  it  receives?  And  that 
because  of  the  light  value  of  this  color,  there  is  no  feeling  of  oppressive¬ 
ness  or  of  crowded  space. 


{20} 


The  Colonial  Toile  de  Jouy  gives  a  note  of  distinction  to 
this  Early  American  bedroom. 


Slip-Covers 

LIP-COVERS  may  be  used  decoratively  and  practically  on  all  uphol¬ 
stered  chairs,  davenports,  settees,  side  chairs,  rockers,  and  footstools,  — 
in  living  rooms,  dining  rooms,  sun-parlors  and  bedrooms. 

For  decorative  effect  they  do  wonders.  In  refreshing  a  room  or 
protecting  furniture  there  is  nothing  to  take  the  place  of  a  colorful  Colonial 
Cretonne  slip-cover. 

To  estimate  the  yardage  necessary  (1)  measure  the  chair  on  the 
outside,  from  the  top  of  the  back  to  the  bottom  of  the  upholstery  (A  toB) ; 
(2)  on  the  side,  from  the  top  of  the  arm  to  the  bottom  of  the  upholstery 
(C  to  D);  (3)  from  the  front  of  the  arm  to  the  back  (E  to  F);  (4)  on  the 
inside,  from  the  top  of  the  back  to  the  seat  (G  to  H);  (5)  the  width  of  the 
back  (I  to  J);  (6)  top  of  the  arm  to  the  seat  (K  to  L),  (7)  the  seat  of  the 
chair  from  the  back  to  the  front  (M  to  N),  and  (8)  the  drop  to  the  bottom 
of  the  upholstery  (O  to  P).  Pieces  for  sides  will  be  required  in  duplicate. 
Width  of  cretonne  will  usually  suffice  for  sidewise  measurements, — other¬ 
wise  allow  extra  yardage.  Allow  for  seams,  or  for  ruffle  or  box-pleated 
valance  at  bottom  if  desired.  The  boxing  on  the  sides  and  top  of  the  back 
and  the  facing  of  the  arms  should  likewise  be  allowed  for,  and  should  be 
cut  to  fit  the  thickness  of  the  upholstery.  A  prominent  design  motif 
must  be  carefully  placed, — allowance  may  have  to  be  made  for  this. 

There  are  two  ways  of  making  slip-covers.  One  is  with  a  piping  or 
cording  in  the  seams  in  a  contrasting  color  which  gives  outline  and  char¬ 
acter.  F or  this  style  material  should  be  placed  with  face  or  right  side  toward 
the  cutter.  The  other  is  with  plain  French  seams  and  with  the  seams 
turned  out  on  the  right  side.  In  this  case  the  right  side  of  the  material 
must  face  the  piece  of  furniture.  The  fitting  for  either  is  the  same.  This 
fitting  is  the  most  important  step  in  the  making  and  must  be  done  with 
care. 

First,  lay  the  material  on  the  inside  back  and  cut,  following  outline 
of  chair,  leaving  a  two-inch  margin  all  around  except  at  the  inside  bottom 
where,  if  the  piece  has  a  loose  cushion,  not  less  than  four  inches  is  left,  or, 
without  the  cushion,  not  less  than  six  inches  is  left 
to  tuck  down  inside  when  finished.  This  allows  for 
play  in  the  material,  so  that  it  does  not  stretch  or 
pull  out  in  the  seams  when  one  sits  down.  Next, 
start  at  the  center  of  the  top  of  the  back  and  pin 
the  back  piece  to  the  front,  smoothing  the 
material  on  front  and  back  into  place,  and  pinning 
at  outside  edge  with  straight  pins  not  more  than  a 
quarter  of  an  inch  apart.  In  the  case  of  a  davenport, 
where  one  width  will  not  cover  the  length  of  the 


122} 


back,  center  the  full  width  in  the  middle  of  the 
back  and  piece  out  to  the  necessary  width  on 
each  side.  Next  the  material  is  fitted  to  the  in¬ 
side  arm,  then  the  outside  arm  pinned  to  it;  the 
seams  on  the  edges  where  the  materials  come 
together  must  come  at  the  same  place  that  the 
seam  of  the  upholstery  does.  Finally  comes  the 
seat  and  front  drop ;  at  the  back  and  the  sides  of 
the  seat  there  must  be  left  the  same  amount  of 
material  to  tuck  in  for  play  of  cover  as  was  left  at 
the  base  of  the  back;  these  edges  are  then  pinned 
together;  the  sides  of  the  seat  pinned  to  the 

arms  and  the  back  edge  of  seat  to  lower  edge  of  back;  the  front  drop 
pinned  to  outside  arm  pieces,  and  the  cover  is  then  completely  fitted.  If 
there  is  a  cushion,  next  fit  the  covering  for  it.  Leave  the  opening  at 

the  back  of  cushion. 

The  edges  pinned  together  are  now  trimmed 
evenly,  one-half  inch  out  from  the  pins.  For  French 
seam  finish,  stitch  about  one-eighth  inch  from  the 
edge  on  the  wrong  side  all  the  way  around.  Next 
take  out  the  pins,  turn,  and  stitch  about  a  quarter 
of  an  inch  from  the  edge  on  the  right  side.  Do 
not  stitch  in  too  far  from  the  edge  as  this  will  make 
the  cover  fit  too  tightly. 

For  welt  or  corded  seams  cut  strips  on  the 
bias,  to  cover  number  60  white  cotton  cable  cord, 
one  and  one-quarter  inches  wide,  baste  strips  over 
the  cording,  insert  the  cording  on  the  right  side 
by  taking  out  only  a  few  inches  of  the  pins  at  a 
time,  and  baste  the  cording  in  with  close  stitches.  The  cover  is  then 
stitched  on  the  machine.  Here  again  be  very  careful  to  stitch  inside  the 
line  where  it  was  pinned.  The  raw  edges  of  the  fold  on  the  cording  and 
the  cover  are  clipped  off  evenly  leaving  about  a  quarter  of  an  inch  and 
overcast. 


In  both  styles,  in  the  center  of  the  back  or  on  the  left  side,  the  cover 
is  left  open  from  the  arm  to  the  base  and  a  placket  set  in  to  allow  for 
putting  cover  on  and  removing.  Snaps,  buttons,  or  ties  are  sewn  in  and 
the  cover  is  complete. 

The  slip-covers  may  be  finished  in  several  ways  around  the  bottom, 
with  a  ruffle  shirred  on,  or  pleated.  This  may  fall  from  the  line  of  uphol¬ 
stery  to  the  desired  length.  Two  inches  above  the  floor  is  generally 
accepted  as  correct.  The  bottom  of  the  cover  may  be  finished  with  a 
cording  at  the  lower  edge  of  the  upholstery. 


[23} 


i 


A  Note  of  Rose  and  Gold  for  an  East  Bedroom 

MUST  bring  all  our  ingenuity  into  play  when  such  a  problem 
J  presents  itself,  and  see  that  just  as  much  light  as  possible  enters 
such  a  room.  In  cases  like  this  it  is  preferable  to  forego  valances 
over  the  window,  and  use  a  very  sheer,  light-colored  material  for  the 
glass  curtains.  Also,  select  a  drapery  material  which  reflects  light.  Some 
quaint,  cheery  Colonial  Charlton  Chintz  in  colors  which  repeat  in  some 
part  the  colors  of  the  small  panes  of  glass  would  be  charming.  By  intro¬ 
ducing  sunny  colors  into  the  room  as  much  as  possible  —  for  example,  a 
cream  or  ivory-colored  ground  in  the  chintz,  and  walls  of  cream  — ■  we  se¬ 
cure  a  light,  inviting  atmosphere  which  counteracts  the  lack  of  natural 
light  due  to  the  short  windows. 


In  planning  the  color  scheme  for  the  bedroom  pictured  on  the 


opposite  page  we  selected  a  rich,  warm  gold-colored  taffeta  as  the  key¬ 
note.  As  we  have  previously  explained,  the  purpose  and  proportion  as 
well  as  the  exposure  of  a  room  should  be  carefully  considered.  This  being 
a  room  of  average  size  with  eastern  exposure,  and  receiving  only  a  little 
more  sun  than  a  room  with  northern  exposure,  gold  and  rose  with  blue 
as  a  complement  were  considered  a  happy  choice  for  the  color  scheme. 

The  walls  were  covered  with  a  striped  paper  of  quiet  grey  which 
lends  an  appearance  of  height ;  the  rug  with  its  blue  and  tan  tones  picks 
up  the  gold  of  the  Colonial  Jaspe  Sylkenglo  Taffeta  bedspread  and  the 
blue  seat  of  the  side  chair.  At  the  windows  the  quaintly  patterned 
draperies  of  Colonial  Charlton  Chintz — Design  Vinetta,  airy  trailing 
flower  vines — apparently  dominate  the  room  and  offer  contrast  to  the 
blue  and  gold,  the  rose  color  giving  the  necessary  complement  for  relief. 
These  draperies  were  left  unlined  as  the  transparency  of  the  colors  was 
thus  emphasized.  They  were  bound  in  plain  rose-colored  glazed  chintz. 

The  gold  theme  is  further  repeated  in  other  spots  of  color.  The 
lace  shade  at  the  window  admits  considerable  light,  and  the  whole  effect  is 
softened  by  the  ruffled  curtains  of  Colonial  Opalescent  Gauze.  A  feel¬ 
ing  of  the  French  provincial  is  seen  in  the  walnut  furniture,  and  the  lamp 
affords  a  pleasant  touch,  as  does  the  growing  ivy  in  the  corner.  Aren’t 
the  pictures  a  pleasant  diversion  too? 


124] 


The  hanging  corner  bracket  Ends  a  fortunate  setting  in  this 
cheerful  sleeping  room, to  which  a  profusion  of  Bowers  lends 
an  intimate  and  joyous  air. 


Cretonnes  Ma^  Be  Washed  Successfully 

How  To  Do  It 

"^OULD  you  like  to  have  your  cretonne  or  chintz  draperies  and  slip- 
l  U  J  covers  retain  their  fresh,  glowing  colors  season  after  season?  Of 
course — we  all  would,  and  here  is  one  of  the  important  reasons  for 
your  insistence  on  Colonials  when  buying  them. 

The  producers  of  these  attach  to  each  piece,  at  the  mill,  a  ticket 
telling  candidly  what  you  have  a  right  to  know. 

There  are  those  which  are  marked  Firmaniline  Colors,  thoroughly 
washed  before  leaving  the  mill,  and  they  will  of  course  bear  up  well  in 
any  repeated  reasonable  washings  which  you  may  choose  to  give  them. 

Where  there  is  to  be  exposure  to  a  considerable  amount  of  strong 
light  it  might  be  well  to  insist  on  Colonial  Draperies  in  Superlizarine 
Colors,  which  possess  exceptionally  good  lasting  qualities.  Years  of  ex¬ 
perience  have  plainly  demonstrated  to  us  that  you  need  give  them  only 
reasonable  care  and  you  will  have  draperies  and  accessories  that  respond 
by  growing  old  gracefully  —  beautifully  —  in  years  of  service. 

For  continued  exposure  to  sunlight  there  are  Colonials  in  Guar¬ 
anteed  Fast  Colors,  and  plainly  so  marked,  made  to  remain  unchanged 
indefinitely. 

If  this  book  has  helped  you  to  insist  on  one  of  these  better  grades 
of  colors  —  even  if  it  has  done  no  more  —  it  has  served  you  well. 

Then  all  you  need  do  in  washing  is  to  use  warm  water  (not  boiling), 
and  any  good  bar  soap  or  soap  chips  —  rinse  several  times  - —  dry  in  the 
shade  (not  sun)  —  and  iron  while  they  are  still  damp.  You  will  feel  repaid 
for  having  taken  a  little  care  in  washing  your  cretonne  draperies,  when  you 
see  the  renewed  colors  and  delightful  freshness  of  them  as  they  hang  in 
your  windows. 


Cretonne  Wall  Plaques  and  Screens 

How  To  Antique  Them 

/^^y^ELIGHTFUL  effects  of  rare  old  paintings  or  fabrics  can  be  secured 
/  J  with  little  trouble  and  less  expense,  by  applying  an  antique  finish 
to  a  wall  plaque  of  cretonne  or  chintz.  Also,  you  can  make  unique 
floor  screens,  portfolios,  telephone  screens,  waste  paper  baskets,  desk- 
sets  or  lamp  shades.  They  are  not  difficult  either,  if  you  like  making  ex¬ 
periments,  and  are  interested  in  producing  unusual  accessories  for  your 
own  home  or  for  gift  purposes. 

Attractively  shaped  floor  screen  frames  and  other  sorts  of  frames 
may  be  purchased  from  almost  any  store  carrying  furniture.  First,  a 
foundation  of  unbleached  muslin  should  be  tacked  tightly  to  the  frame 
panels  on  both  sides  with  small  gimp  tacks.  Over  this  tack  the  cretonne 
or  chintz  you  have  chosen  —  some  gaily  patterned  design  which  boasts 
a  profusion  of  colors  —  taking  care  to  see  that  the  motif  of  the  design 


£26} 


comes  in  the  same  place  on  every  panel.  Then  you  are  ready 
to  shellac  the  entire  screen  on  both  sides  with  the  best  quality 
white  shellac.  It  is  usually  necessary  to  give  the  average  cretonne- 
covered  screen  about  three  coats  of  shellac,  occasionally  even 
more.  When  this  has  been  spread  on  evenly  and  dried  thor¬ 
oughly,  the  screen  or  other  article  is  ready  for  the  antique 
finish.  This  consists  of  burnt  umber  and  Van  Dyke  brown  mixed  with 
brown  Japan  dryer  to  an  oily  flowing  consistency.  It  is  applied  in  a 
rotary  and  daubing  sort  of  motion  with  cheesecloth,  working  the  dark 
effect  into  the  shadows  of  the  design  and  keeping  the  high-lights  only 
slightly  tinted.  If  done  carefully  the  finished  article  can  be  made  to  resem¬ 
ble  many  of  the  hand-painted  leather  articles  and  screens  so  popular  just 
now,  but  which  we  find  are  very  expensive  to  purchase  ready-made. 

The  cretonne  screens  should  be  finished  on  the  edges  with  furniture 
gimp,  or  it  is  possible  to  achieve  most  unusual  and  charmingly  decorative 
effects  by  applying  fancy  brass-headed  nails  around  the  edges. 

For  the  wall  plaques,  one  of  which  is  shown  at  the  head  of  the  page, 
buy  ordinary  wallboard  and  cut  it  into  size  and  form  best  suited  to  the 
particular  cretonne  motif  selected,  at  the  same  time  suited  to  the  space  in 
which  it  is  to  be  used.  The  cretonne  is  cut  slightly  larger  than  the  wall- 
board  form  so  that  all  edges  may  be  turned  in  on  the  back.  Pasting 
should  be  done  with  a  good  quality  of  glue  so  that  it  will  be  sure  always 
to  hold.  When  applying  glue  on  the  one  side,  it  is  important  to  apply 
it  also  at  the  same  time  on  the  entire  reverse  side,  so  as  to  avoid  warp¬ 
ing  of  the  wallboard.  Allow  the  board  to  dry  thoroughly,  preferably 
over  night.  After  being  sure  that  all  traces  of  moisture  have  disappeared, 
several  coats  of  clear  shellac  should  be  applied.  Five  or  six  coats  may  be 
necessary.  The  first  coat  of  shellac  will  be  absorbed  by  the  fabric  to  a 
considerable  extent,  and  this  first  thorough  coat  should  also  be  applied 
on  the  entire  reverse  side  to  be  sure  that  future  moisture  is  not  absorbed 
and  allowed  to  later  warp  the  finished  panel.  Subsequent  coats  of  shellac 
will  dry  very  quickly.  There  should  be  enough  coats  of  the  shellac  to  form 
a  uniform  luster. 


The  antiquing  material  we  have  already  mentioned  is  then  applied 
all  over  the  face  and  wiped  away  from  the  parts  where  the  design  is  to 
come  out  strongest,  being  left  to  cover  the  parts  where  the  design  is  to  be 
faint.  Even  where  it  is  wiped  away  as  much  as  possible,  a  little  of  it  seems 
to  stay  between  the  threads  of  the  fabric  and  makes  a  very  beautiful  effect, 
while  it  still  permits  the  design  colors  to  show. 

When  all  other  work  on  the  panel  is  completed 
the  back  should  have  plain  paper  covering  pasted  over 
the  entire  surface,  but  not  quite  up  to  the  edge. 

Equally  as  decorative  and  charming  effects  may 
be  carried  out  with  the  many  other  articles  mentioned, 
and  the  home  decorator  who  takes  the  trouble  to  add  this 
artistic  touch  will  be  well  repaid  for  the  little  effort  it 
will  cost  her. 


[27} 


Color — Its  Emotional  Value 


"7^  ']  E  modern  women  have  become  so  well  versed  in  using  delightful 
J  and  harmonious  color  ensembles  in  our  dress  that  we  should  learn 
to  apply  this  knowledge  in  introducing  glorious  color  schemes 
throughout  all  the  rooms  of  our  homes  —  they  are  just  as  enjoyable  and 
delightful  there.  The  whole  object  of  this  book  is  to  help  you  to  use 
your  knowledge  of  color  and  design  to  make  your  home  more  beautiful 
and  more  livable. 

It  is  not  a  complex  matter  either.  A  thorough  understanding 
of  the  essentials  of  color  harmony  is,  however,  of  tremendous  value.  We 
shall  attempt  to  set  these  essentials  down  here  very  briefly,  clearly  and 
simply. 

According  to  the  generally  accepted  theory,  there  are  three  pri¬ 
mary  colors  —  red,  blue  and  yellow,  as  indicated  in  the  chart.  Second, 
there  are  the  binary  colors,  orange,  green  and  violet,  which  are  made  by 
combining  two  of  the  primaries :  red  and  yellow  making  orange ;  blue  and 
yellow  making  green;  blue  and  red  making  violet;  as  also  indicated  in 
the  chart.  Then  there  is  another  range  of  shades  in  each  of  which  there 
is  more  of  one  primary  than  of  another,  such  as  the  yellow-green  having 
more  of  the  yellow  than  the  blue;  and  the  blue-green  having  more  of 
the  blue  than  the  yellow.  We  might  consider  neutral  gray  as  a  combina¬ 
tion  of  all  the  primary  colors.  Naturally,  we  would  understand  the  addi¬ 
tion  of  white  as  making  a  lighter  tint  of  any  of  these  and  black  as  making 
a  darker  shade. 

The  Magic  of  Color 

Certain  colors  have  power  to  make  a  room  seem  larger  or  smaller; 
to  make  us  feel  irritable  or  restful;  to  make  a  room  seem  cool  or  warm. 
So  in  selecting  a  material  and  a  color  for  a  room,  it  is  wise  to  take  into 
consideration  the  psychological  as  well  as  the  physical  characteristics  of 
the  persons  who  will  frequent  the  room,  as  well  as  its  exposure  and  purpose. 

Yellow,  the  color  of  sunshine,  is  a  warm  tone,  expressive  of  light 
and  gladness.  Darkened  city  rooms,  especially,  should  have  yellow  in¬ 
troduced  into  their  color  schemes;  and  in  yellow  we  here  include  cream, 
buff,  ivory,  corn  color,  lemon,  and  all  these  closer  variations  of  the 
primary  hue. 

Red  is  an  aggressive  color,  dangerous  when  used  in  large  quantities. 
It  has  the  power  to  create  unrest  and  disturbance  in  our  minds.  Under 
test,  it  can  make  a  room  seem  as  much  as  thirty  per  cent  smaller  than  the 
same  room  done  all  in  blue.  But  red,  skillfully  used,  is  a  most  decorative 


[28} 


-   ■  0 -X' ; .  ■  ■ : „.',  rtt.i,-,-,  u\ii.,a-v«-i 

Simplified  Color  Chart 

and  suggestions  for  varied  Color  Schemes 


color,  one  that  suggests  warmth  and  friendly  welcome  —  at  times,  rollick¬ 
ing  good  spirits. 

Blue  is  the  cold  color  —  suggestive  of  space,  perhaps  because  of 
its  identity  with  the  sky;  suggestive  too  of  water  and  ice.  It  induces 
restraint  and  repose  —  it  serves  as  an  admirable  foil  to  both  red  and 
yellow.  It  has  the  faculty  of  making  rooms  seem  larger,  particularly  in 
its  higher  values. 

Orange  combines  yellow  and  red,  and  partakes  of  the  qualities  of 
both  —  that  is,  light  and  heat  —  cheer  and  aggressiveness.  Used  in  large 
quantities,  its  effect  is  uncomfortable,  but  small  spots  of  it  produce 
delightful  effects  of  colorful  warmth. 

Green  combines  yellow  and  blue  —  but  it  is  more;  it  is  nature’s 
choice  color;  used  lavishly  there  in  background  and  foreground. 
The  grass  —  the  trees  —  the  foliage  and  shrubs  are  of  this  chosen  binary. 
Therefore,  its  use  is  recommended  because  it  induces  rest  and  ease  for 
jagged  nerves;  it  brings  the  spacious  coolness  of  outdoors  into  warm 
houses;  it  comforts  tired  eyes. 

Violet  is  the  color  of  dignity,  of  royalty,  of  pomp.  Combining 
blue  and  red,  it  produces  a  mixture  of  emotions  —  perhaps  awe  and 
depression,  the  quiet  of  mysticism. 

Put  all  this  into  practice.  Plan  your  complete  color  scheme  for 
the  room  you  have  been  visualizing.  Select  a  Colonial  Drapery  Fabric 
containing  the  principal  color  you  desire  to  feature.  Then  plan  the 
predominant  colors  for  floor  coverings,  walls,  painted  or  upholstered 
furniture,  and  colorful  accessories  such  as  pillows,  lamps,  books,  or 
bric-a-brac.  In  the  accompanying  chart  we  have  thus  suggested  schemes 
in  which  rose,  blue,  yellow,  helio  or  green  are  the  dominant  drapery  colors. 


Measurements  and  Details  for  Making  Various  Hangings 


^^^IRST  ascertain  exact  yardage  of  fabric  needed,  making  allowance 
^  for  matching  of  pattern,  which  may  require  additional  material. 
^  Securing  proper  placement  of  motif  in  all  draperies  of  a  room  is 
essential,  for  giving  a  flnished  custom-made  appearance.  Therefore, 
over-draperies  should  be  properly  matched,  carefully  considering  the 
repeat  of  the  design,  so  that  they  will  appear  balanced  and  symmetrical. 
If  a  window  measures  9'  in  height  and  the  repeat  of  the  fabric  design  is 
2'  it  is  necessary  to  have  each  cut  of  material  five  full  repeats  or  10'  long, 
so  as  to  have  sufficient  length  in  each  curtain  and  to  have  each  length 
begin  with  the  same  design  unit,  preferably  having  the  full  motif  begin 
at  the  bottom  of  each  curtain.  After  allowing  for  lower  hem  turn  the  sur¬ 
plus  into  the  heading  to  allow  for  possible  later  alterations. 


Lining  of  over-draperies  is  usually  done  with  plain  sateen.  Often, 
to  get  the  full  benefit  of  the  wonderful  color  transparency  in  so  many 
Colonial  Chintzes,  over-draperies  of  these  materials  are  left  unlined.  Over¬ 
draperies  are  made  with  a  l3^"  to  2"  tunnel  at  the  top  to  allow  for  the 


130} 


rod,  or  brass  rings  may  be  sewed  to  the  back,  spaced  about  4"  apart,  — 
the  draperies  being  then  hung  from  a  solid  rod.  Pleats  at  the  top  are 
not  necessary  unless  they  are  to  be  hung  by  wood  or  metal  rings  on 
decorative  wood  or  wrought  iron  poles.  In  this  case  they  would  have 
French  pleats,  which  are  a  form  of  pinched  box-pleat,  these  at  the  very 
top  or  heading  of  each  curtain. 

In  measuring  valances  take  into  consideration  the  full  breadth  of 
the  window  to  the  outside  edges  of  the  wood  trim,  measuring  along  the 
extreme  top  of  the  window  trim.  The  outer  edges  of  the  finished  valance 
must  hang  in  a  straight  line  with  the  outer  edges  of  the  over-draperies. 
Soft  pleated  or  gathered  valances  may  have  tunnel  heading  or  hooks 
sewed  to  the  back  for  the  rod.  More  formal  lambrequins  fashioned  of 
buckram  should  be  interlined  with  cotton  flannel  and  lined  with  sateen. 
The  heading  should  preferably  be  a  wide  cotton  tape  stitched  to  the 
back  at  the  very  top  or  a  double  fold  of  the  lining  material  stitched  in  the 
same  manner.  This  enables  you  to  tack  the  lambrequin  to  a  board 
wide  and  about  thick  fixed  to  the  extreme  upper  edge  of  the  window 
casing  with  angle  irons,  as  illustrated  at  the  top  of  page  15.  It  is  preferable 
to  allow  about  31/2''  additional  at  each  end  of  the  lambrequin  for  a  return 
to  tack  around  each  end  of  the  valance  board.  Custom  requires  that  the 
valance  depth  never  be  more  than  1/5  of  the  curtain  length.  Good  judgment 
should  dictate  this  depth,  but  we  usually  favor  a  more  shallow  valance. 
It  is  essential  to  center  the  most  important  part  of  the  design  motif, 
equally  piecing  out  at  each  side  to  the  required  width.  Piecing  should 
never  be  done  in  the  center. 

In  measuring  a  doorway  for  portieres  begin  at  the  very  top  of  the 
opening  and  measure  to  within  1"  of  the  floor.  This  measurement  should 
then  be  the  exact  finished  length  of  your  portieres.  The  width  is  governed 
by  the  size  of  the  opening,  2  5  of  the  opening  width  being  covered  with 
portieres. 

Casement  or  glass  curtains  are  generally  finished  with  a  Wi"  hem 
turned  double  on  inner  and  lower  edges,  with  3"  heading,  outer  edges 
requiring  only  a  1/4"  hem.  A  rod  may  be  run  through  this  3"  heading. 
Glass  curtains  hang  straight  with  weighted  tape  in  the  lower  hems. 

If  you  make  draw-curtains  they  should  be  French  pleated  at  the 
top,  these  pleats  about  5"  apart,  with  a  brass  ring  sewed  at  the  back  of 
each  pleat.  Through  these  rings  the  rod  and  the  cords  for  drawing  are 
placed.  This  method  is  complicated  and  requires  special  hardware. 

Over-draperies  should  have  a  finishing  touch  of  trimming  along 
the  inner  and  bottom  edges  and  along  the  lower  edge  of  the  valance. 
Favored  trimmings  are  wool  brush  fringe,  ball  fringe,  or  bands  of  varied 
widths  in  plain  glazed  chintz,  plain  linen  or  sateen.  An  attractive  and 
less  expensive  effect  is  obtained  by  the  use  of  rayon  and  worsted  brush 
edging.  You  will  notice  when  planning  the  draperies  illustrated  in  this 
book  we  have  used  these  forms  of  trimming.  In  addition  there  are  single 
and  double  box  pleatings  or  single  and  double  ruffles,  —  which  are  forms 
of  trimming  especially  suitable  for  sleeping  room  draperies. 


[31} 


(lA 


RARE  fragment  of 
a  genuine  old  Jouy 
piece,  printed  from 
wood  probably  before 
1830,  furnished  the  in¬ 
spiration  for  this  love¬ 
ly  design  Fleurjouy,  a 
Colonial  Cambridge 
Cretonne.  Available  in 
periwinkle  blue,  old 
red,  raspberry,  reseda 
green,  and  old  gold, — 
all  tinted  in  ivory. 


